Tomutonttu
Halki pilvien
Boomkat Product Review:
Finland’s standard bearer of electronic surrealism poetically drifts high and lonely as a cloud in this suite of atmospherimorphic emulations for the wonderful Edições CN.
For nearly 30 years Jan Andersen has enchanted with his peculiar style of animated electronics both solo and as part of key Finnish psych groups swirling the Fonal label; Kemialliset Ystävät, Es, Killa, etc. In the late 2000s in particular he broke out amid a loose-knit nexus of artists, along with likes of 0PN and James Ferraro and Spencer Clark, who shifted synth noise into deeply trippy zones. Anderzen has continued along that path ever since with a string of lysergic-entheogenic gems that now includes ‘Halki pilvien’, exploring a typically shapeshifting sound that feels as though it occurred with a whole cast of elves on board, and somewhat comes to resemble an ensemble of clangers and cartoon creatures who also carries passports for Rashad Becker’s land of notional species.
In a mix of mercurial short form details and expansive soundscapes Tomutonttu mimics the nature and movements of clouds and sifting skies thru a certain shine-eyed lysergic lens explicitly indebted to Noah Creshevsky, the NYC pioneer of hyperrealism whose influence can be heard on the phalanx of oddballs Tomoutonttu is often regarded with. Passages of quicksilver hiccups and comb-stroked foley own out into moments of beatific bliss and keen into broader descriptions of crisply chopped string and keys that resemble scrambled ambient psych panoramas, giving way to fluttering pulses and burbling sounbd pebtry redolent of Cucinca Povera after a meal of magic mushies. There’s a spangled country folk cuteness to ‘Tomu koostuu kaikista väreistä’ surely recall gin Goodiepal’s strangest delicacies, and an 8’ standout of choral hyper chamber arrangement for fantasy creatures and frogs in ‘Ihmisen ääni’ that ultimately leads to the album’s straightest piece for piano ‘Busi aamu’, which is nevertheless freckled with fractal oddities that leave the mind sparkling fresh with micro dosed tang.
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Boomkat Product Review:
Finland’s standard bearer of electronic surrealism poetically drifts high and lonely as a cloud in this suite of atmospherimorphic emulations for the wonderful Edições CN.
For nearly 30 years Jan Andersen has enchanted with his peculiar style of animated electronics both solo and as part of key Finnish psych groups swirling the Fonal label; Kemialliset Ystävät, Es, Killa, etc. In the late 2000s in particular he broke out amid a loose-knit nexus of artists, along with likes of 0PN and James Ferraro and Spencer Clark, who shifted synth noise into deeply trippy zones. Anderzen has continued along that path ever since with a string of lysergic-entheogenic gems that now includes ‘Halki pilvien’, exploring a typically shapeshifting sound that feels as though it occurred with a whole cast of elves on board, and somewhat comes to resemble an ensemble of clangers and cartoon creatures who also carries passports for Rashad Becker’s land of notional species.
In a mix of mercurial short form details and expansive soundscapes Tomutonttu mimics the nature and movements of clouds and sifting skies thru a certain shine-eyed lysergic lens explicitly indebted to Noah Creshevsky, the NYC pioneer of hyperrealism whose influence can be heard on the phalanx of oddballs Tomoutonttu is often regarded with. Passages of quicksilver hiccups and comb-stroked foley own out into moments of beatific bliss and keen into broader descriptions of crisply chopped string and keys that resemble scrambled ambient psych panoramas, giving way to fluttering pulses and burbling sounbd pebtry redolent of Cucinca Povera after a meal of magic mushies. There’s a spangled country folk cuteness to ‘Tomu koostuu kaikista väreistä’ surely recall gin Goodiepal’s strangest delicacies, and an 8’ standout of choral hyper chamber arrangement for fantasy creatures and frogs in ‘Ihmisen ääni’ that ultimately leads to the album’s straightest piece for piano ‘Busi aamu’, which is nevertheless freckled with fractal oddities that leave the mind sparkling fresh with micro dosed tang.
Boomkat Product Review:
Finland’s standard bearer of electronic surrealism poetically drifts high and lonely as a cloud in this suite of atmospherimorphic emulations for the wonderful Edições CN.
For nearly 30 years Jan Andersen has enchanted with his peculiar style of animated electronics both solo and as part of key Finnish psych groups swirling the Fonal label; Kemialliset Ystävät, Es, Killa, etc. In the late 2000s in particular he broke out amid a loose-knit nexus of artists, along with likes of 0PN and James Ferraro and Spencer Clark, who shifted synth noise into deeply trippy zones. Anderzen has continued along that path ever since with a string of lysergic-entheogenic gems that now includes ‘Halki pilvien’, exploring a typically shapeshifting sound that feels as though it occurred with a whole cast of elves on board, and somewhat comes to resemble an ensemble of clangers and cartoon creatures who also carries passports for Rashad Becker’s land of notional species.
In a mix of mercurial short form details and expansive soundscapes Tomutonttu mimics the nature and movements of clouds and sifting skies thru a certain shine-eyed lysergic lens explicitly indebted to Noah Creshevsky, the NYC pioneer of hyperrealism whose influence can be heard on the phalanx of oddballs Tomoutonttu is often regarded with. Passages of quicksilver hiccups and comb-stroked foley own out into moments of beatific bliss and keen into broader descriptions of crisply chopped string and keys that resemble scrambled ambient psych panoramas, giving way to fluttering pulses and burbling sounbd pebtry redolent of Cucinca Povera after a meal of magic mushies. There’s a spangled country folk cuteness to ‘Tomu koostuu kaikista väreistä’ surely recall gin Goodiepal’s strangest delicacies, and an 8’ standout of choral hyper chamber arrangement for fantasy creatures and frogs in ‘Ihmisen ääni’ that ultimately leads to the album’s straightest piece for piano ‘Busi aamu’, which is nevertheless freckled with fractal oddities that leave the mind sparkling fresh with micro dosed tang.
Boomkat Product Review:
Finland’s standard bearer of electronic surrealism poetically drifts high and lonely as a cloud in this suite of atmospherimorphic emulations for the wonderful Edições CN.
For nearly 30 years Jan Andersen has enchanted with his peculiar style of animated electronics both solo and as part of key Finnish psych groups swirling the Fonal label; Kemialliset Ystävät, Es, Killa, etc. In the late 2000s in particular he broke out amid a loose-knit nexus of artists, along with likes of 0PN and James Ferraro and Spencer Clark, who shifted synth noise into deeply trippy zones. Anderzen has continued along that path ever since with a string of lysergic-entheogenic gems that now includes ‘Halki pilvien’, exploring a typically shapeshifting sound that feels as though it occurred with a whole cast of elves on board, and somewhat comes to resemble an ensemble of clangers and cartoon creatures who also carries passports for Rashad Becker’s land of notional species.
In a mix of mercurial short form details and expansive soundscapes Tomutonttu mimics the nature and movements of clouds and sifting skies thru a certain shine-eyed lysergic lens explicitly indebted to Noah Creshevsky, the NYC pioneer of hyperrealism whose influence can be heard on the phalanx of oddballs Tomoutonttu is often regarded with. Passages of quicksilver hiccups and comb-stroked foley own out into moments of beatific bliss and keen into broader descriptions of crisply chopped string and keys that resemble scrambled ambient psych panoramas, giving way to fluttering pulses and burbling sounbd pebtry redolent of Cucinca Povera after a meal of magic mushies. There’s a spangled country folk cuteness to ‘Tomu koostuu kaikista väreistä’ surely recall gin Goodiepal’s strangest delicacies, and an 8’ standout of choral hyper chamber arrangement for fantasy creatures and frogs in ‘Ihmisen ääni’ that ultimately leads to the album’s straightest piece for piano ‘Busi aamu’, which is nevertheless freckled with fractal oddities that leave the mind sparkling fresh with micro dosed tang.
Edition of 200.
Out of Stock
Boomkat Product Review:
Finland’s standard bearer of electronic surrealism poetically drifts high and lonely as a cloud in this suite of atmospherimorphic emulations for the wonderful Edições CN.
For nearly 30 years Jan Andersen has enchanted with his peculiar style of animated electronics both solo and as part of key Finnish psych groups swirling the Fonal label; Kemialliset Ystävät, Es, Killa, etc. In the late 2000s in particular he broke out amid a loose-knit nexus of artists, along with likes of 0PN and James Ferraro and Spencer Clark, who shifted synth noise into deeply trippy zones. Anderzen has continued along that path ever since with a string of lysergic-entheogenic gems that now includes ‘Halki pilvien’, exploring a typically shapeshifting sound that feels as though it occurred with a whole cast of elves on board, and somewhat comes to resemble an ensemble of clangers and cartoon creatures who also carries passports for Rashad Becker’s land of notional species.
In a mix of mercurial short form details and expansive soundscapes Tomutonttu mimics the nature and movements of clouds and sifting skies thru a certain shine-eyed lysergic lens explicitly indebted to Noah Creshevsky, the NYC pioneer of hyperrealism whose influence can be heard on the phalanx of oddballs Tomoutonttu is often regarded with. Passages of quicksilver hiccups and comb-stroked foley own out into moments of beatific bliss and keen into broader descriptions of crisply chopped string and keys that resemble scrambled ambient psych panoramas, giving way to fluttering pulses and burbling sounbd pebtry redolent of Cucinca Povera after a meal of magic mushies. There’s a spangled country folk cuteness to ‘Tomu koostuu kaikista väreistä’ surely recall gin Goodiepal’s strangest delicacies, and an 8’ standout of choral hyper chamber arrangement for fantasy creatures and frogs in ‘Ihmisen ääni’ that ultimately leads to the album’s straightest piece for piano ‘Busi aamu’, which is nevertheless freckled with fractal oddities that leave the mind sparkling fresh with micro dosed tang.
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